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If you’re an iZotope blog regular, you’ve probably read a lot of mastering tips and tricks for EQs, compressors, limiters, imagers, and every other processor around. But what about choosing an order for these things? While signal chain composition isn’t discussed much, it’s an integral step in mastering.

What is a mastering signal chain?

A mastering signal chain is a series of processing effects applied to a signal in a linear order. Each signal process alters the signal for the next process in the chain, and so on. If you don’t think through the signal chain, you’ll likely need to add extra processing to compensate and “fight” against the chain’s upstream processing. Why fight it when all you might need to do is change the order a little?

How do you choose a mastering signal chain?

The most common thing to do when you start working on a song is to set up and tweak EQ’s, compressors, and limiters until you’re happy with the result. But, a signal chain is context dependent. The processing you choose to use, and the order of your chain, should reflect the material you’re working with. We can easily fall into a routine where we wind up using the same things in the same order all the time, so it’s important to think about the type of signal we are feeding into the device or module. It also helps change your perspective on how to approach mastering a song.

The first step to create a well-defined signal chain is to listen to the track and make notes on what you’re hearing. Here are three questions to ask yourself:

1. What do you want to change?

2. What are the artists/producers notes?

3. Out of all the tools you have, what would be the best choice to achieve what you want?

Follow these steps and you’ll have a solid plan of action, and more importantly, a well-ordered mastering signal chain. Let’s dive into a few common mastering signal chain questions.

Do I EQ or compress first when mastering?

Melodyne 4 essential download izotope. The answer depends on what you are trying to achieve. If the track has frequencies standing out that need to be cleaned, it’s better to EQ the signal first, before compression. Using corrective EQ here will feed a more balanced signal into the compressor, helping to avoid any potential unwanted pumping.

Compressing before corrective EQ can create unwanted pumping, and a master with fuzzy lows and mids. Trying to fix this by adding extra processing will not always work, so switch up your compressor and EQ placement to help mitigate this effect. This thought process can also be applied when using mid/side EQ and compression.

Should I use stereo imaging in a mastering signal chain?

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Stereo imaging can be used to address potential problems, or to add that extra “3D” sound if the mix needs it. However, use stereo imaging with caution! You can easily create phase problems and unwanted balance changes. A common mistake is to widen the image too much, which causes the image to lack center, and lose punch.

Applying the same thought process as corrective EQ, addressing problems with the stereo image before doing anything else will help achieve the sound you are looking for faster. If you're using stereo imaging just to add some extra shine, it is probably a good idea to add it towards the end of the chain, with a sound that is more to your liking. Here is an example of how I used stereo imaging in a recent session.

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Mastering signal chain example, from start to finish

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The song I was given to master had quite a bit of low end, too little top end, and a few transients popping out. After listening to the track several times, I realized the signal below 100 Hz was pretty wide, resulting in a lack of punch. To fix this, I added Ozone’s Stereo Imager, and closed the stereo field below 100 Hz. This helped the low end feel focused and punchier.